The authorization for the racing ga is basically settled, so what's left is to develop the ga with a new skin.
For the experienced second ga developnt team, this is already a piece of cake.
If it weren't for Takayuki's deadline requirent.
They could finish developing the ga in about a month if they worked overti.
But Takayuki requires them to develop for three months, until the ga is officially released when the ga console is launched in the United States.
In this way, they don't have much pressure, and they can relatively easily complete their work every day, and then wait patiently for the official release of the ga.
As for the third developnt team, there are not too many problems with the basketball ga they are responsible for.
Although there is no underlying code to help save ti, they have previous experience in making basketball gas. This ti, they just need to raise the ga's graphics to a higher level and make the basketball ga look smoother in motion.
During this period, Takayuki also asked them to learn from the fourth team, which happened to be in the process of debugging character animations, and incidentally debug the motion effects of basketball players.
The developnt of the second and third teams went smoothly, and the only trouble was with the fourth ga developnt team.
One day, Takayuki personally ca to the office area of the fourth developnt team.
As soon as he entered, Takayuki noticed that there were various scattered papers everywhere.
He picked up so of the papers on the ground and found densely packed lines of program code data.
There were also so marks made with a marker pen, indicating that so error correction was in progress.
Takayuki could also hear voices of debate faintly.
With curiosity, Takayuki walked over to see what was going on. Soon, he arrived at a temporary office in the area of the fourth team.
At this ti, the programrs were gathered together for a eting, and the motion effects of a character were being projected onto a white wall.
They seed to be deeply engrossed in discussing how the character should move more comfortably and smoothly.
"I think this muscular guy's moves should be wide open, like sumo wrestling, using the force of his weight to overpower the opponent. We just need to take a look at the way sumo wrestlers fight."
"Your sumo wrestlers are full of muscles, which is obviously unreasonable, right? Moreover, this muscular guy has been clearly defined as an heir from Athens, from a noble family. Such a character should learn European and Arican fighting techniques rather than our sumo."
"But we have no understanding of European and Arican fighting techniques at all. Should we imagine it by watching movies?"
Takayuki did not rush into the eting room, but patiently listened to what the people inside were discussing.
It seed that these people were stuck on the issue of each character's movents.
Besides having smooth and visually stimulating actions, a combat character also needs to fit their own character.
If a character from Europe or Arica were to use sumo techniques, it would feel out of place.
Moreover, sumo wrestling belongs to the Asia-Pacific cultural sphere, and it may not necessarily be accepted in the United States.
"Do you think this motion is okay? For a noble family, perhaps they would have so upper-class dances. We can use dance to represent combat."
"That's too far-fetched, and I can't imagine it at all. How can dancing be used for combat?"
The people inside discussed heatedly for a long ti. Just then, the door suddenly opened, and a person ca out, seeming a little absent-minded.
Takayuki quickly dodged and avoided colliding with the person coming out.
"Takayuki!"
Aya Tsukino exclaid.
She rarely showed surprise reactions.
Of course, she rarely let her guard down.
Clearly, when facing countless people before, she seed to have so sort of premonition, able to sense soone approaching her in advance.
But just now, she didn't feel Takayuki's presence at all, almost colliding with him.
"Huh? It's President Takayuki!"
In the eting room, people were also attracted by Aya Tsukino's exclamation, and they all looked towards the entrance, where Takayuki was standing.
The employees who were in the midst of intense discussion also stopped their discussion.
"I see you are having a heated discussion, so I didn't want to disturb you."
After giving a polite nod to Aya Tsukino, Takayuki greeted the employees in the eting room.
Aya Tsukino quickly lowered her head and left without saying another word, seemingly lost in thought.
Takayuki was already accustod to Aya Tsukino's behavior.
A long ti ago, he learned from Aya Tsukino that she had a fear of physical contact, which seed more like a psychological issue, just like a certain ga character's psychological illness, often silent, so Takayuki didn't bother Aya Tsukino and let her leave.
Then he entered the eting room, and all the employees stood up slightly nervously.
"I just ca by to take a look. I heard you were facing so kind of bottleneck?"
The head of the fourth team, Ryuta Omori, said sowhat embarrassedly, "President, we do have a little trouble. We are currently debating the specific action characteristics of each character and the different effects of defeating enemies."
The various data provided by Aya Tsukino are basically templates for each character.
They can rely on these templates to produce similar characters.
But according to Takayuki's requirents, there needs to be at least twenty unique fighters.
Among them, Takayuki has arranged so character features, such as Ryu, Ken, Chun-Li, Guile, Akuma, and other characters, while others are left for these programrs to use their creativity.
In the original Street Fighter ga, there were not many fighting characters, and there were not even famous characters like Chun-Li in the later gas.
But since they had decided to skip the second generation and develop the ga, they might as well bring so characters from Street Fighter II.
Ryuta Omori pulled out a blackboard and personally sketched out a character's action draft for Takayuki, giving Takayuki a rough simulation of a combat scene.
"We think this is already quite smooth, but as you said, President, this kind of smoothness is still sowhat unsatisfactory. We want to create a more satisfactory product, so we're stuck in debate now."
Takayuki stroked his chin and looked at the rough action sketches on the blackboard, seeming to think of sothing.
Takayuki rembered a groundbreaking fighting ga called VR Fighter.
Looking at it from the perspective of 2020, this ga was completely unbearable, but at the ti, it was a sensation.
At that ti, there was no motion capture technology, so in order to make the actions feel as close to real fighting as possible, the creator, Yu Suzuki, personally searched all over China, seeking guidance and instruction from various martial arts masters. In the end, his efforts paid off, and VR Fighter beca a hit, making SEGA a lot of money during that period.
Takayuki felt that it might be necessary for these programrs to personally experience the fighting techniques of those martial arts masters.
If they stayed in the office every day, it would be impossible for them to develop excellent action gas.
Reviews
All reviews (0)